That dude was light on his feet and it was simply a well executed kick. Built for throwing that kick...could have been a ballet dancer that boy. Keep them paws up facing those long legged skinny dudes!

In any fight, competition ring, or street...the best fighter will always be the one who has the 'gift of anticipation'...genetically and 'cultivated' by the right training.

He must be able to recognize what is about to happen, even before the attacker knows it himself as to what he is about to do_ and to make sure it never happens by taking that option away from him.

If you stand there, in a defensive position, which is ok...but in a complacent manner...because you have trained to allow an opponent to throw at you so you can block and counter...then you have been conditioned to fail as we see it now on the screen.

As it turns out I was thinking of Andre Tippet ( must be my 'part timers ')

Buuuut I agree, 'reading ' is an attribute attained through '3rd level drills' . If we do limitation sparring without 'the gaps ' we'll eventually pick up on the physical cues , 'tells' , that a fighter gives us to acurately read his or her intent.....

Now here we go again....
What determines a 'Uechi Technique'? Is it only something that we train in our kata and bunkai ? What if a Uechi practitioner incorperates technique not 'Traditionaly taught' but from the foundation (core attributes) of Uechi ?

Now here we go again....What determines a 'Uechi Technique'? Is it only something that we train in our kata and bunkai ? What if a Uechi practitioner incorperates technique not 'Traditionaly taught' but from the foundation (core attributes) of Uechi ?

Now here we go again....What determines a 'Uechi Technique'? Is it only something that we train in our kata and bunkai ? What if a Uechi practitioner incorperates technique not 'Traditionaly taught' but from the foundation (core attributes) of Uechi ?

If you were trained to paint an apple and you became very good at painting that apple. Then you looked past the apple moved on to painting the mountains in the background will you learn another style of painting?
PS I`m taking a year off to study other "styles" and finding "Uechi" in many. Or am I still using the same "brush" ?

Tomorrow Sensei Maloney , Briget and I will be finalizing details on the new home of our martial arts research confrence headquarters in the Northeast .Located 20 minutes from Bangor Me. International airport , this campus will provide a year round location for martial arts continuing education for master instructors and beginer students alike .

One of the most significant abilities of both great fighters and the old martial arts masters is their
instinct to anticipate. They know what you’re going to do before you execute. Any serious
martial artist who practices disciplined interaction drills, such as sparring, will gradually acquire
this skill. Over time, one develops his focusing attributes by being able to concentrate such that
the non-essentials are eliminated and only the essentials remain. This awareness, especially in
the abstract, is the highest form of intelligence.
Both Bruce Lee and I were able to expand our awareness through reading and subscribing to the
recorded lectures and writings of the late philosopher, J. Krisnamurti. Here is an example. Two
fighters are sparring. One has a sharp, effective side kick. The other knows this and has
prepared himself with a secret block against it. However, as their sparring session progresses,
every time the second fighter attempts his new block, he fails and consistently keeps getting hit
with the side kick. What is wrong with this picture?
One of the key tenets of Krisnamurti’s teachings is to learn how to clearly expand your
awareness through the understanding and practice of proper observation. This means learning to
see things without contaminating your awareness with conceptual identities. Krisnamurti says,
“That which is being observed is not the same as its identity.”
When you lock your focus on just a symbol for what something is called or its value, your
awareness freezes on the conceptual level of thinking. Your mental thoughts become separated
from simultaneously participating in your actions. For example, the fighter thinks, evaluates,
and then executes a movement. The impulsiveness we frequently witness watching a great
fighter is no longer there.
The fighter above is missing the sidekick because he is looking for, and, trying to identify the
incoming sidekick. He has unintentionally distorted both his reaction and response timing speed
by blindfolding his awareness. What he does not see is how and when the kicker keeps
disguising the set point from which he positions and times the execution of the kick. Nor, does
the victim detect how the kicker breaks his rhythm by keeping him off-balance, and also
contained, as he makes an approach in setting up the kick.
An early scene in the movie, “Enter the Dragon,” Bruce Lee was seen teaching a young student.
Lee pointed his finger upwards towards the moon and said, “Don’t think, feel. It is like a finger
pointing away to the moon.” Not happy with the student’s reaction, Bruce smacks him and tells
him, “Don’t concentrate on the finger or you will miss all the heavenly glory.” This meant that
beyond the awareness of simply what is the moon’s identity is the wider abstract principle of
what this symbol, the moon, represents, that of also being part of the heavens.
If you were to observe the woods out in a rural countryside, what would you see? Do you think
I see some trees, some bushes, some weeds, or some dead plant life; or, do you see beyond just
the identity of the content of your observation and see the wider principle, which these things
represent – the forest? This is one of the ways Krisnamurti tries to teach you to expand your
awareness by first learning how to think in principle.

In psychology, learning to think in principle is known as abstract intelligence. Martial arts are a proven way to help disciplined participants learn how to better accomplish this mental faculty.
Two of the most important principles used in the execution of any martial arts combative skill
are positioning and timing. Krisnamurti’s teachings enabled Bruce and Joe to face an opponent and
avoid locking our focus on just things like his size, his type of stance, the technique he used to
beat his last opponent, or simply his martial arts style, etc. For anyone to be able to best use any
of these focusing attributes, he must be, at first, positioned at an advantage. If his position is
weak, then his timing will falter. If your position is weak and your timing is bad, you can’t fight,
period. The fighter above, trying to block the sidekick, never had a chance. His improper
observation development limited his ability to properly detect his opponent setting him up by
weakening his position, and while constantly breaking his timing rhythm.
The ultimate level of awareness I believe Krisnamurti’s work will help you as a martial artist is
with your focusing skills. There is a zone that all top athletes get into before a performance.
Some call it the fluid level of consciousness or an impulsive state of mind. I am not referring to
any Zen philosophy or Chi or Ki energies, etc. I know such phenomena assists in healing
procedures, but I’ve never seen them work in combat. Krisnamurti would sometimes respond to
questions about the existence of a god, but I have no knowledge of him discussing these
somewhat mythical or metaphysical subjects. Bruce Lee told me that he had read hundreds of
books containing these subjects in both Cantonese and Mandarin. He told me emphatically it
was all bunk. I agree. On the non-metaphysical side of martial arts, greater focusing power can
be strongly increased by studying Krisnamurti’s research. This is, for me, the most important
lesson I learned from him. They contain precise steps any instructor can use to teach
practitioners to better command and stabilize their sound focusing skills.
Psychology identifies four levels of consciousness. First, we sense some aspect of our existence,
such as by feeling or seeing. The perceptual process follows this sensory level. Sensations are
converted into perceptions. Then the conscious mind converts perceptions into concepts.
Krisnamurti described this part of observing as the identification process. The abstract level of
consciousness integrates these concepts and symbols into wider principles.
The martial artist has to first learn how to direct his attention. This involves proper alignment of
his focused attention. Secondly, he then precisely targets or places his attention on a preferred
essential item, disallowing any non-essentials to interfere. Fear puts you into the past tense. Ego
can cause you to anticipate; thus, tricking you into the future tense. Identifying anything in the
past or future tense will destroy your timing.
Effective focusing requires being able to stay in the present tense. At first, when you begin just
looking at your opponent, simply trying to observe him, you may find yourself at times staring.
Great fighters are able to read their opponent’s face with only a split-second glance. You can
learn to do this also.
Try looking towards your opponent’s face with a relaxed observation, free of any thoughts.
Avoid any tendency to conceal or any impulse to convey signals of intent. You’re not trying to
see him nor are you wondering what he sees in you. Your manner of focused composure is neither extrospective or introspective.

Tomorrow Sensei Maloney , Briget and I will be finalizing details on the new home of our martial arts research confrence headquarters in the Northeast .Located 20 minutes from Bangor Me. International airport , this campus will provide a year round location for martial arts continuing education for master instructors and beginer students alike .

Who is online

Users browsing this forum: No registered users and 4 guests

You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot post attachments in this forum